Icom America announces new series of NXDN IDAS mobiles and portables

The new range of Icom Radios, the 3400 and 4400 range. With a new colour screen and an SD card slot. Icom really are making strides in the radio market, We just hope that they keep the same connection types, so we can use our icom earpieces.

Icom America recently showcased a new series of multi-mode UHF/VHF NXDN IDAS radios that are designed to provide users with a flexible feature set and an enhanced user interface.

“It’s firmware upgradeable and licensed for different features,” Mark Behrends, senior manager of strategic sales at Icom America, said during an interview at the company’s booth during APCO 2016 in Orlando. “So, you pay for the basic radio, and you license up for the features that you want.”

While the next-generation IDAS radios—the 3400 series for VHF portables, 4400 for UHF portables, 5400 for VHF mobiles and 6400 for UHF mobiles—continue to operate on the VHF/UHF bands with slightly more spectral range than previous models, this new series features a color screen, a “really intuitive” interface and greater software-upgrade flexibility, Behrends said.

“What it really changes is the user interface and the usability of the radio,” he said. “So, you can have conventional standard, or you can license up for Type D trunking or Type C trunking.”

Programming the radios can be accomplished via Bluetooth, a USB port and Icom’s standard connections, Behrends said. The Bluetooth functionality allows the radios to work with myriad accessories and third-party applications, he said.

Behrends noted that the new radios support secure-digital (SD) cards, which enable additional flexibility for users.

“An SD card is pretty handy—you can record on it, you can capture GPS waypoints on it, you can program ICFS files and add new firmware through the SD card,” Behrends said.

Icom America expects this series of radios to be available this fall, after the products complete FCC testing, according to Behrends. Pricing will differ based on the type of screen included, but it generally will be comparable to Icom’s “higher-end IDAS product,” he said.

http://urgentcomm.com/icom/icom-america-announces-new-series-nxdn-idas-mobiles-and-portables

Imtradex Aurelis Handheld Microphones Future Proof to fit all Purposes

We call these Remote Speaker Mics (RSM) and they have come in all different shapes and sizes over the years. Normally a staple of the emergency services, but we have seen a upsurge in general radio users using RSM’s. So it comes as no shock to us that a pro-active company like Imtradex has designed one to suit the needs of the masses.

What was originally developed as a handheld microphone for digital radios, has blossomed over the past few years to an essential equipment accessory for digital radio standards of emergency service: The Aurelis hand microphone from Imtradex.

Meanwhile with the Aurelis, the specialist for critical communications, have a whole series of hand microphones on the market, all adapted to the specific challenges of the communication in critical applications of security agencies, fire departments, dispatch and emergency services. The Aurelis series addresses the different needs of the user: based of the basic model Aurelis Base, Imtradex manufacture customized versions that are specially tailored to the range of functions that meet the customer’s requirements.

All the Aurelis hand microphones have a send button, a microphone and high quality speakers. “All devices contain a cable attachment and also the possibility to connect external audio accessories” adds Ralf Kudernak, CEO of Imtradex. Depending on the radio, different data applications can be integrated, so can ex. on the model Aurelis AudioDis, information be displayed on the LCD display.

“The youngest member of the family is the Aurelis USB handheld microphone, which is designed for connection to computer-based communication system, especially for control centers” informed Ralf Kudernak. “The USB interface gives the easy integration and can be connected independently to each operation system and used with existing hardware. With the development of the Aurelis USB, we followed the desire of several control centers, which wanted to use a handheld microphone which you can also hang at the table of the workplace” said Kudernak.

In terms of digital communication, security and flexibility the innovative ultra-lightweight Aurelis Nexus PTT set new standards. It was specially designed for fire fighting. Thanks to it extra large PTT, with short sensing path and exactly defined pressure point, the operation with use of working gloves is possible.

The user can also be flexible in their choice of radio and headset: All Aurelis handheld microphones can be combined, not only with many headsets, for example with the monaural neckband headset from the NB Series. They are convenient and safe to wear, provide a maximum safe mobility and provide an excellent voice quality. Imtradex can also build them with the different connectors required, so they can easily be connected to different digital radios. All Aurelis handheld microphones have a robust plastic housing. Is splash-proofed and protects the device against dust and against temperature influences, so they can be reliably used in a temperature range from -30 to + 70 degrees Celsius. The 180 gram lightweight Aurelis handheld microphones are also available in different colours and optionally equipped with a car holder or cloth clip.

– See more at: http://www.tetra-applications.com/33213/

Motorola Announces New Two-Way Radio for Use Extreme Conditions

ATEX Radios don’t get the coverage that they deserve, they are superior to most other radios and are designed for the most dangerous and explosive situations. In the past Motorola have designed ATEX radios on current models and the respective safety features added, but this 8000XE is a new model with features not seen before on previous ATEX radio. Hot off the Motorola News desk, you can find the original article here.

Motorola Solutions continues to design digital radio solutions for firefighters and has added the APX 8000XE two-way radio and APX XE500 RSM to its line of products. The newest entries into Motorola Solutions’ award-winning APX portfolio of Project 25 (P25) digital radios have been developed using the company’s well-established practice of hands-on research with firefighters and other first responders who need the most reliable mission-critical communications to do their jobs efficiently, effectively and safely every day.

The APX 8000XE features all-band functionality and is a rugged P25 two-way radio that can be used in either analog or digital mode across 700/800 MHz, VHF, and UHF bands. Time is of the essence for firefighters and they can be ready in moments by programming the radio remotely via WiFi and radio management software to operate securely on different radio networks, allowing them to quickly help neighboring counties during large-scale emergencies.

Motorola Solutions works closely with firefighters and other radio users to find out exactly what they need, and the APX 8000XE is the latest example of that thinking. It features the trusted ergonomics of the APX XE radio series, designed for easy operation in harsh conditions. The right-sized radio has a large top display, exaggerated controls for gloved hands, and a dedicated push-to-talk button. It also provides best-in-class audio with a 1-watt speaker, three built-in microphones and automatic noise suppression for clarity in the loudest of environments.

“The APX 8000XE is an all-band rugged and submersible portable radio made for firefighters,” said Lieutenant David Hudik, Elgin Fire Department. “With Wi-Fi access, we can reprogram the APX 8000XE on the fly when we are providing mutual aid assistance out-of-state.”

Most firefighters use a remote speaker microphone with their radios and the APX XE500 RSM is designedspecifically for demanding environments, whether combating a fire or providing medical services at the scene of an accident:

With five strategically placed microphones and automatic noise suppression, the APX XE500  provides clear communications when worn on either shoulder, center chest, or over the shoulder.

It can be submersed in two meters of water for up to 4 hours.

It withstands heat conditions of up to 500°F (260°C) for up to five minutes.

A channel knob automatically controls the channels of the user’s portable APX radio.

“With the APX XE500 RSM, I can completely control my APX radio without having to hunt under my bunker coat for it,” said Lieutenant David Hudik, Elgin Fire Department. “With improved water porting, you can carry the APX XE500 upright or upside down for fast water drainage while maintaining clear voicecommunications.”

“Customer input is essential to our design and the Elgin Fire Department was right at our side as we tested the capabilities of the APX 8000XE and APX XE500 RSM,” said Claudia Rodriguez, vice president, Devices Product Management, Motorola Solutions. “The latest XE radio means firefighters will be able to talk with other first responders at the scene and across municipalities and regions. The new rugged RSM means they can communicate clearly in the loudest fireground environments, including blaring horns and wailing sirens.”

The APX 8000XE and XE500 RSM will be available in North America.

Exactly What Precisely Is The Earpiece Performers wear What Do Singers Possess in Their Ear

Every time a singer gets on stage, he or she wants to put on his/her best performance ever. This is why he/she will try to avoid any distraction that might otherwise affect his or her performance in a negative way. They will ensure that their concentration is really high and that they can hear themselves sing during that moment. One of the distractions that is usually in almost every concert is noise. The noise can be coming from the speakers, the echoes and even form the audience itself.

The music and the song that is normally heard when a singer is performing is referred to as house mix while the song that the singer hears from the speakers is referred to as monitor mix. Usually, a singer stands at the back of the main speakers that are normally placed in front of the audience. Most of the time especially on a big stage, the song that reaches the audience is reflected back to the stage (but not immediately). Such background music will prevent the singer from hearing his or her voice.

Stage monitors are small speakers that are directly aimed at the singer for him or her to hear himself or herself sing. Stage monitors were previously used in concerts and they are still being used on some small venues where cover bands do gigs e.g. in some private parties, bars etc. In the current concert venues, stage monitors do not work very well. This is because singers and musicians move a lot on stage when they are performing. Although the stage monitors enable the singer to hear the music on the stage, they are not as clear as personal monitors (referred to as earpieces, very different to Radio Earpieces).

Earpieces give the singer a detailed information regarding his or her performance. They make him/her hear both the song and the orchestra. They enable the singer to constantly hear his/her song regardless of his or her physical movement on the stage. This is unlike the stage monitors that usually provide the band’s and the singer’s voice based on their distance from the speaker. With stage monitors, the sounds usually vary especially if the singer is moving all over the stage.

When a singer has the earpieces on, he gets to choose what he wants to hear. For instance if he wants to hear himself sing or even hear the lyrics, he can. The earpieces help in drowning out the background sounds like the noises made by the crowd or even those from the band. In fact on average, the earpieces can help the singer reduce the background noise by up to 30 decibels. This can extremely help the singer during the performance.

Usually, the earpieces are tailor- made to perfectly fit the singer. They also come in different styles and colors and therefore the singer can pick the one that suits his/her outfit on the stage.

The most important benefit of having the earpieces on is that, they help the singer in eliminating or reducing the echoes. In an auditorium specifically built for concerts, sounds usually radiate through the entire building when the singer is performing. The audience really enjoy the music that echoes back to the stage however, the singer can easily get confused with such echoes. Note that, by the time the echo reaches the stage, it will be one or two seconds off from what the singer is singing at that moment.

Earpieces also help in blocking the sounds that are coming from the band. The instruments are extremely loud especially those that use electric amplifiers. This noise can make it really hard for the singer to hear himself or herself sing.

The earpieces give the singer the sound feedback and therefore he/she is able to hear everything that is in the song. This makes it easier for him/her to keep on with his or her performance.

Sometimes, you may notice that some garage bands who work in small areas are not using earpieces. The members of such bands usually monitor one another while performing to ensure that they keep up and stay in tune during the performance. However in large crowds of say a 100000 people (i.e. in huge stadiums), one will definitely need earpieces otherwise he/she may not hear anything and may even end up with off key sounds.

Musician sues Royal Opera House over ruined hearing

It is quite a common thing that musicians and artists that are exposed to loud noise, will eventually suffer from hearing damage. We have seen many artists suffer from this career threatening damage, the likes of Phil Collins, Eric Clapton and Ozzy Osbourne and the tinnitus that is effecting Chris Martin from Coldplay, this is a problem that many more will be affected by. This article from the BBC talks about Chris Goldscheider and his pursuit of damages over his hearing damage. Rightly or wrongly it’s an interesting tale.

A renowned viola player is suing the Royal Opera House for ruining his hearing and his career during rehearsals of Wagner’s Die Walkure.

Chris Goldscheider claims his hearing was irreversibly damaged by brass instruments put immediately behind him.

The Musicians’ Union says hearing damage is a major problem for musicians playing in orchestras.

The Royal Opera House denies it is responsible, but around a quarter of its players suffer hearing illnesses.

In court documents seen by the BBC, Goldscheider claims that in 2012 his hearing was “irreversibly damaged” during rehearsals of Richard Wagner’s thunderous Die Walkure “from brass instruments placed immediately behind him” in the famous “pit” at the Royal Opera House.

The sound peaked at around 137 decibels, which is roughly the sound of a jet engine. The court documents say the noise “created an immediate and permanent traumatic threshold shift”.

Image captionChris Goldscheider played the viola with some of the world’s greatest orchestras

Goldscheider says this amounts to “acoustic shock”, one effect of which is that the brain hugely amplifies ordinary sounds.

Music has been in most of Goldscheider’s life: “For the last quarter of a century I’ve been a professional musician. Music was my income. It was my everything,” he says.

The son of a composer, from the age of 10 he spent in excess of six hours a day practising and rehearsing. He played the viola with the Royal Liverpool Philharmonic and BBC Symphony orchestras, before joining the prestigious Royal Opera House orchestra in 2002.

Career highlights have included performing live with the famous Three Tenors to 100,000 people at the Barcelona Camp Nou football stadium, and with Kylie Minogue on MTV. He has also recorded with artists including the band 10cc.

Goldscheider says the effects of the hearing damage have been devastating.

“Ordinary sounds like banging cups and glasses together is a very painful noise,” he says.

“My newborn daughter last year was crying so much I actually got noise-induced vertigo because of my injury and I ended up in bed for three weeks.”

The musician says he has lost the career he loved and his mental health has deteriorated as he struggles to cope with the impact and effects of his hearing problems.

Life has changed dramatically. To carry out ordinary every day tasks such as preparing food, Chris has to wear ear protectors. Especially upsetting is that he had been unable to listen to his 18-year-old son Ben – one of the country’s outstanding young French horn players.

“Ben is a fantastic musician. I haven’t been able to listen to him play or practice since my injury. I’ve missed him playing concerts and winning competitions. I can’t even bear him practising in an upstairs room when I am downstairs in the house,” he says.

musician has to wear ear protectors to carry out every day tasks

At the time of his injury, Goldscheider was provided with hearing protection capable of reducing the noise by up to 28 decibels, but his lawyers claim this was insufficient. They say he was not given enough training in how to use it and protect himself, and that the noise levels should not have been so dangerously high.

The Royal Opera House does not accept the rehearsal noise caused Goldscheider’s injury, and denies that is responsible.

In a statement it told the BBC: “Mr Goldscheider’s compensation claim against the Royal Opera House is a complex medico-legal issue, which has been going on for some time and is still under investigation.

“All sides are keen to reach a resolution. The matter is now the subject of legal proceedings, and in the circumstances it wouldn’t be appropriate to comment any further at this stage.”

And according to Goldscheider’s solicitor Chris Fry, part of the Royal Opera House’s defence breaks new legal ground.

“Essentially what is being said is that the beautiful artistic output justifies damaging the hearing of the musicians performing it,” he says.

“That’s never been tested by the courts. We don’t think the court is likely to uphold that, in particular where it’s clear steps could be taken to maintain the beautiful sound and protect hearing at the same time.”

he Royal Opera House denies it is responsible for Chris Goldscheider’s hearing issue

Hearing damage suffered by rock musicians is well documented. Years ago The Who’s Pete Townsend went public about his hearing loss and famously said a doctor had told him: “You’re not actually going deaf, but I’d advise you to learn to lip read.”

Brian Johnson of AC/DC and Ozzy Osborne have also been affected. But what is far less well known is that it is a significant problem in the more sedate and sophisticated world of classical music.

There are around 100 players in the orchestra at the Royal Opera House. The BBC has learnt more than a quarter report occasional or mild hearing illness, and that in the 2013/14 season, there were seven cases of sickness absence related to noise problems and a total of 117 weeks of sick leave taken. That’s not music to anyone’s ears.

Morris Stemp of the Musicians Union says there are many reasons for the hearing damage suffered by classical musicians.

“Conductors are allowed to ride roughshod over health and safety considerations,” he says. “They put players on the stage where they will be in harm’s way. And instruments are now louder than they ever were before because of the materials they are now made from.”

Add to that the increased number of live concerts prompted in part by the drop in income from CD sales, and there is a mix of elements that can put the hearing of orchestra players at serious risk.

Chris Goldscheider’s case casts light on a little known or discussed problem, and will be watched closely by all those in the classical music world.

 

In Ear Monitor Buyer’s Guide: Custom vs. Generic Fit

It is understood that ear moulded plugs are far more comfortable and effective than the mushroom plugs, but which ones are the best? The Custom fit or generic fit. This article runs over the positives and negatives of that question and comes to a conclusion, if your debating to get some moulded ear plugs or some from the shelf, you will want to read this first.

Over the past 20 years, In Ear Monitors (or IEMs) have become a near-necessity for live performance.

In years prior, engineers would inevitably have to crank up a venue’s stage monitors loud enough for the musicians to hear themselves over the audience, over the sound coming from the stage, and over the main mix.

This would often lead to an arms race of ever-increasing stage volume, potentially causing feedback issues and compromises in clarity and quality for the live mix.

Custom in-ear monitors from JH Audio, one of the first commercial brands to make a name for itself in the IEM market.

With the advent of in-ear monitors, all this began to change. In the mid-1980s, Etymotic developed the first-ever insert-style earphones, and soon after, a designer named Marty Garcia began making one-off custom in-ears for rock stars like Todd Rundgren.

By 1995, Jerry Harvey, founder of Ultimate Earsand JH Audio, brought some of the first commercially-available dual-driver IEMs to market. All of a sudden, everyday musicians had an option that allowed us to save our hearing, get better monitor mixes, and dramatically reduce the chances of feedback onstage.

Today, IEMs are increasingly being considered useful tools for the studio as well. Their ability to prevent sound leakage can be of tremendous value in helping to control click and instrument bleed, and in saving musicians’ hearing by allowing them to monitor at lower levels.

Some musicians and engineers, such as drummer Rich Pagano of The Fab Faux, will use IEMs to quickly check for phase when mic’ing up a drum kit, while others turn to IEMs as a kind of audio microscope, using them to help check for and remove extraneous low-level noise.

Any modern musician would be wise to consider adding in-ear monitors to their toolkit. But is it worth it to dish out the extra money on custom fit IEMs, instead of saving some money with the generic fit ones?

In testing a variety of in-ear monitors from brands like Westone, Ultimate Ears, Future Sonics, and even Skullcandy (that last of which is not recommended for professional use), I have found that there are cases in which generic fit earphones may work better than their custom counterparts. Making the right decision for your needs comes down to considering the following four factors:

1) Cost

Ultimate Ears custom fit in-ear monitors.

Custom fit IEMs tend to cost more than generic fit ones, as it takes more time and effort for the manufacturer to craft a product designed specifically for the unique anatomy of your ear.

Getting custom IEMs made also requires that you go to an audiologist to make a mold of your ear canal that the IEM company can then use to make your monitors fit as well as possible.

Take note of both of these costs, which can range from $100-$200 or more for a fitting from an audiologist, and $299-$1499 or more for the custom monitors to be made.

2) Comfort & Seal

Custom fit IEMs are custom, so they should feel really comfortable, right?  Well, yes and no.

In my experience, custom fit IEMs can feel a little tight in the ear canal compared to generics, especially at first. Hearing so little acoustic feedback from your performance can also take some getting used to, and the tight seal of custom fit in-ears can feel particularly awkward when signing.

Because of this, my looser-fitting Westone 3 generic IEMs actually feel more comfortable to me on vocal duties, so I often find myself using them over my custom fit Future Sonics when I step up to the mic.

Matt Bellamy from Muse (recently featured in Get THAT Guitar Tone) has been seen using both customUltimate Ears UE-11s and generic-fit Westone UM2s when on tour, and my guess is that he has similar reasons.

Though the tight fit of custom IEMs and lack of acoustic feedback from your performance can be a challenge, it’s worth noting that generic foam-tip IEMs also provide their own tradeoffs: The looser fit of generics can sometimes create a bit of a tingling or “tickling” feeling in your ear when playing at higher volumes, so it may be useful to have a pair of each and go with what feels best depending on the date and venue.

Silicone-based Encore Studio custom IEMs from ACS.

Another option here is the custom fit brandACS, which makes its IEMs out of soft silicone shells.

This softer silicone-based design is meant to offer both better comfort and a tighter fit than the hard acrylic shells used by brands like Westone and Ultimate Ears.

Though these silicone monitors sell for a premium price of $400-$1,200 and up, they may help bridge the gap between the tight seal of custom acrylics and the looser and easier fit of foam-tipped generic IEMs.

3) Hearing Protection

In addition to cutting down on sound leakage to help improve sound quality and reduce feedback, another primary benefit of IEMs is that they can offer considerable hearing protection by helping to block out exterior noise, allowing you to monitor at lower levels.

Some of the best custom fit brands like JH Audio and Ultimate Ears offer NRR ratings of 26dB in reduction, and some of the better generic brands advertise comparable results as well. (Though your results with generics may vary depending on the fit and seal in your ear.)

In the long term, reducing the levels you’re regularly exposed to—even by a few extra decibels—could mean the difference between a long and illustrious career as a “golden-eared” audio engineer and potentialtinnitus and irreversible hearing loss.

Also worth checking out is the REV33 system, which can be added on to your your in-ear-monitoring system to help reduce distortion and ear strain. Many live musicians, including Phil X and Steve Salas swear by the system. According to the company:

“All in-ear monitors and headphones generate damaging, unwanted noise and distortion that forces the ear to shut down and compress for protection. The REV33 reduces the symptoms of tinnitus, ear-ringing, ear-fatigue, buzzing and dampened hearing by preventing in-ear monitors and headphones from producing this unwanted noise and distortion.”

4) Waiting and Time Considerations

After getting my first pair of IEM’s made, I found that the right ear monitor turned out well, but I was not getting a proper seal in the left ear at first. This made the monitors essentially useless for my live sound needs at the time, and so I had to send them back for some tweaking.

When I got them back a couple of weeks later, the seal still wasn’t great, so I had to send them back once again for further modification, and visit my audiologist a second time to take another impression of my ear canal to send in.

Getting the perfect fit turned out to be quite a time-consuming process (as well as an expensive one) so unless you’re on the hunt for a long-term solution with as much acoustic isolation as humanly possible, you might satisfice with generic IEMs, or keep some around as an alternate option.

In that case, I would recommend the generic in-ears from Ultimate Ears, Shure, or Westone.

Ultimate Ears’ generic fit UE900 model sports 4 drivers for $400.

The Ultimate Ears UE900’s are a great sounding 4-driver IEM that only costs $399, while the $99 Shure SE215 single-driver IEMs advertise an astonishing 37dB of noise reduction (more than most custom IEMs) at a great price.

My own triple-driver Westone 3’s (since replaced by the W30 model) are the most comfortable in ear monitors I own right now, and they isolate a lot more noise than most thanks to their foam-tip construction.

Compared to custom in-ears, any of these model can potentially save you time and money, or work as a welcome supplement for those times when the tight fit of custom in-ears feels irksome.

I hope my experiences here help you make the right decision when you go to buy your own IEMs. In short, I found that less-expensive generic foam-tipped IEMs worked better for me in many situations, and the savings enabled me to spend my money on better drivers with a fuller sound.

If you’ve used IEM’s in the past, let us know in the comments below whether you prefer custom fits or generic fit ones, and why.

Motorola completes £700 million acquisition of UK emergency comms provider Airwave

Motorola has completed its acquisition of Airwave, the former provider of the mobile communications network for UK emergency services.

The acquisition was completed on a debt-free basis with a net cash payment of around £700 million, with a deferred cash payment of £64 million to be made in November 2018.

Motorola expects the acquisition to immediately contribute to non-GAAP earnings and free cash flow.

Airwave is headquartered in Berkshire, England, and employs roughly 600 people. It is owned by a fund of Australia’s Macquarie Group.

In late 2015, Airwave filed a legal challenge to the Home Office after EE became the preferred supplier to provide a 4G network to the UK emergency services. Motorola is the preferred bidder for user services to the emergency services.

Airwave complained about the procurement process and the inability of the cellular network to handle the traffic. Currently these services are provided through Airwave’s own terrestrial trunked radio, or Tetra network, which will cease to be a component of police radios.

The decision to move from Tetra has been criticised by some, including members of the Tetra + Critical Communications Association.

Advocates of moving to 4G cite alleged failures of the network during the 2011 riots.

“The acquisition of Airwave enables us to significantly grow our managed and support services business and reflects our commitment to the public safety users in Great Britain,” said Greg Brown, chairman and CEO of Motorola Solutions.

“The combination of our years of experience as a trusted global leader in mission-critical communications and Airwave’s proven service delivery platform will provide Great Britain with innovative emergency services technology that enhances public safety today and into the future.”

This has been in the news for a while and it is a really smart move by Motorola, they have purchased the company that run all the communications for all the UK’s emergency services (tetra network) and manage all of the infrastructure along with that, so with the up-coming contract renewal and many of the phone companies sniffing around looking to capitalise, Motorola have shored up their position with this acquisition. We found this article here, where you can find a lot more on the story throughout the site.

US Presidential Candidate Mocks Disabled Reporter

All-American nutter Donald Trump is back in the news again, this time for making fun of the disabled.

The would-be American President jerked his arms around and acted confused in order to mock disabled journalist Serge Kovaleski, who suffers from arthrogryposis, a congenital joint condition that severely affects his limbs, particularly in his right arm and hand.

One might argue that Trump was just doing an impersonation of an idiot (something he does very well) as a way of slighting Kovaleski’s reporting. From there, one could surmise that the whole thing has been blown out of proportion by an overly sensitive media, until one realizes that Mr. Kovaleski reported on Trump between 1987 and 1993 and that the pair have actually met face to face on numerous occasions.

So, why this latest outburst? Trump was once again using a mis-read article to back up a completely fabricated claim. In this reporter’s opinion, he really should try reading some of these articles ALL THE WAY THROUGH, RIGHT TO THE END, especially if he plans to continue quoting them in public.

Anyway, here’s the story. In 2001, during the aftermath of the September 11th attacks on the World Trade Centre, then-Washington Post journalist Serge Kovaleski reported that Jersey City Police had “detained and questioned a number of people who were allegedly seen celebrating the attacks and holding tailgate-style parties on rooftops while they watched the devastation on the other side of the river”.

Apparently Trump was the only spectator to the “thousands” of Arab-Americans that he claims to have seen celebrating as the twin towers fell. There are no reports anywhere in the media that this rally (or anything even remotely matching Trump’s vivid descriptions) actually happened. Even the mayor of Jersey City has come forward to refute Trump’s bizarre claims, calling them “plain wrong”. Amazingly, Trump himself appears to have waited for 14 years before going public with this shocking sight that only he bore witness to.

BZZZD! Whoops, there goes my bullsh!t detector again!

Mr. Kovaleski’s current employers, The New York Times, have called his actions “outrageous” and, in retaliation, Mr. Trump has taken the fight to Twitter, calling the publication “dumb” and criticising their “poor” management, amongst other things.

Yeah, that’ll show em! How dare they stand behind a disabled employee who has been publicly victimised!

This new outburst was just the latest in a long line of such statements from what appears to be a very public mid-life crisis which has been offensive, painful, embarrassing and laugh-out-loud funny to watch, usually at the same time.

And you thought George Bush was a douchebag!

His Grave Will Be Kept Clean: Ambassador of the Blues, B.B King Passes Away Aged 89

Internationally beloved singer, songwriter and guitar hero Riley B. B.B King passed away last year. He was 89 years old.

King was a celebrated figure in Blues music from the 1950’s onwards and remained popular both in concert and on record until the time of his death.

The future Blues Boy King was born on a cotton plantation in Itta Bene, Mississippi – not far from the Delta, in 1925. He began his musical career by busking on street corners for loose change, usually performing in as many as four neighbouring towns on any given Saturday night. Seeking his fortune, the young man hitchhiked to Memphis, Tennessee, with just his guitar, the clothes on his back and $2.50 to his name.

Whilst in Memphis, Riley stayed with his cousin Bukka (pronounced Booker) White, an established Blues performer who sharpened King’s already formidable musical instincts.

In 1948, B.B performed on Sonny Boy Williamson’s KWEM radio show, which opened the door for him to perform at the Sixteenth Avenue Grill in West Memphis and later to appear on all-black radio station WDIA. This led to King being given a regular slot on the station, beginning with Kings Spot and later evolving to The Sepia Swing Club. It was during this time that Riley’s stage name of Beale Street Blues Boy became shortened to the initials B.B.

During the 1950’s, a fight broke out between two men at one of B.B’s gigs. In the resulting fracas, a kerosene stove was knocked over, which set the place ablaze. B.B, dashed into the inferno to save his favourite guitar – an act that very nearly cost him his life. When he learned that the fight had been over the affections of a woman named Lucille, B.B named his guitar after the woman and, from that day on, all of his guitars bore the name Lucille.

King, now a local radio star as well as a very popular musician in his own right, soon had a number one hit on his hands with Three O’clock Blues, this set the boy from Beale Street touring the United States of America, something he would continue to do for the rest of his life.

Towards the end of the 1960’s, B.B found that his music was transitioning to a young, white audience that were eager to embrace his electric Blues sound. B.B, who had spent his professional life playing almost exclusively to black audiences, suddenly found himself receiving standing ovations and an unprecedented level of respect and appreciation from white audiences, as well.

When he recalled the times changing around him in the 2003 documentary film The Road To Memphis, produced by Martin Scorsese, he was legitimately moved to tears. His music had broken down racial barriers and ultimately won the hearts of people from all races, all walks of life.

When he opened for The Rolling Stones on their 1969 US tour, King’s international stardom was assured. From this point on, B.B King held a new ambition close to his heart; he wanted to be known, nationally and internationally, as the ambassador of the Blues.

In the 1970’s, B.B King was a big enough name to tour internationally, visiting Africa for a series of concerts that were filmed for commercial release as B.B King: Live in Africa. Throughout the next four decades, B.B toured the world, recording live albums in places as far afield as Japan, Great Britain and San Quentin State Prison.

King toured Europe, Australia, New Zealand and even visited the UK from time to time, where this writer was lucky enough to watch the late, great man ply his trade in front of an awestruck and mesmerized audience.

The list of guitarists influenced by B.B’s incendiary sound is a long and impressive one. Names include Jimi Hendrix, Eric Clapton, Buddy Guy, Freddie King, Albert King (neither are related to B.B) and Johnny Winter amongst many, many others. B.B King won at least 9 Grammy awards (among numerous other accolades), was honoured and admired by several American Presidents and touched a great deal of hearts into the bargain.

B.B King recorded 42 studio albums and many more live albums, including critically acclaimed masterpieces like 1965’s Live at the Regal, 1969’s Live & Well, 1970’s Indianola Mississippi Seeds and 2005’s birthday celebration album, simply titled 80.

Earlier this week, a procession of fans, musicians and well-wishers paid tribute to King’s memory. Walking through the streets of Memphis, a Dixieland Jazz band followed a black hearse down Beale Street, as local act The Mighty Souls Brass Band played, When the Saints Go Marching In in honour of a musical legend.

Later in the day, a tribute concert, featuring artists Bobby Rush, The Ghost Town Blues Band and Ruby Taylor amongst others, was held in B.B’s honour.

Upon hearing the news of B.B’s passing, US President Barack Obama sadly said, “the Blues has lost its king and America has lost a legend”.

King’s final studio album, 2008’s One Kind Favor, paid tribute not only to his own illustrious career, but also to an early influence of his, Texas Bluesman Blind Lemon Jefferson. On the title track, B.B covered one of Lemon’s best-known songs, See That My Grave is Kept Clean. There really isn’t much else to say about the staggeringly significant life and career of Riley B. King, perhaps better known as The King of the Blues except that his grave will most certainly be kept clean and that his legacy will live on until time immemorial.

ever wondered what different types of Bluetooth earpieces there are

Bluetooth technology has been designed for many different purposes and situations. Consequently, when people want to buy a bluetooth ear piece for a specific situation, there are some things that they will need to consider. Specifically, based on their specific situation and circumstances, they will need to review the best style of bluetooth earpiece that is available on the market today. Since there are different styles that have been made for for one or more reasons, it’s important for each individual to do their research to see which style can accommodate their needs. It is also important to note that the kind the person purchases must be comfortable so that they can wear them for an extended period of time and they fit the devices that they will be used for. Listed below are three of the bluetooth styles that’s currently offered by manufactures all over the United States and abroad.

Bluetooth ear pieces for Mobile Phones

Most people take their mobile phones wherever they go. To work, school, church, parties and all kinds of other events that they may attend. Because these phones have become commonplace in many environments, people have a need to handle them and talk to others when their hands are free. This is also a great reason for individuals who work in certain settings to make sure that they are buying the right style that will best fit their needs.

One specific style that some people may choose is the ear cradle style of headphone. In fact, this kind of bluetooth earpiece is idea for people who want to spend their time working out and performing all kinds of other extracurricular activities. People are also encouraged to buy this kind of style because they may be driving when they receive a telephone call from a family member. Or, they may be working at the job typing a memo or walking around taking care of wide hosts of other kinds of activities that are not conducive to holding a mobile phone by hand to the ear. Whatever the situation, this style of bluetooth earpiece technology is great for many different situations and purposes.

Bluetooth ear pieces and Headsets for Music Lovers

In addition to the cradle style for mobile phones, people should also review other styles as well. One specific style that is also functional in many different settings is the DJ over the head headphones. This style has been designed for the serious music lovers, especially those who can appreciate making distinctions in sounds and beats that come from specific musical instruments like the bass, violin, trumpet and other popular instruments. For those who like and prefer this kind, they will also find that this is one of the best styles for keeping out outside noises that normally interfere with a person’s overall entertainment experience. Also, because they are wireless, they are great for people who like to stay mobile during the day instead of remaining in a sedentary position.

Bluetooth Ear Pieces for IPODs

In some situations, people may want to use bluetooth technology with their IPODs. Therefore, they should consider buying an additional popular style bluetooth earpiece technology. This style is known to be very popular, specifically because it is similar to an actual earbud. An ear bud is also another excellent choice for people who want to remain both active and hassle free. Though this is a great choice for people who like to remain mobile in a wide variety of different situations, one of its main draw backs is that they tend to fall out of the individuals ear. Which means, they can also be lost since it lacks additional support to keep them stabilized inside the ear.